The Stranger
Film is a medium that helps me sit still and focus. With good storytelling, it allows me to step out of myself for a few hours. I get enveloped in the atmosphere of the film and for a few hours, I hand myself over to the creators of the story. The Stranger allowed me to experience a tense and almost overwhelming anxiety through the direction of the film. Two of my favorite movies are Burning and No Country for Old Men. Their ability to capture my attention, while tactfully asphyxiating me with its slow burn has been a treat to be a part of. The Stranger joins that short list of slow-burn movies that I can watch multiple times.
Slower paced movies tend to lean heavily on the shoulders of its actors because they won’t do multiple, jarring cuts to give the sense of excitement and action. Instead, they’ll opt for long tracking shots often holding onto the expression of the actors. The Stranger is definitely carried to “Masterpiece” status by the talent of Joel Edgerton and Sean Harris. Edgerton embodies Mark, a paranoid undercover detective, keeping calm under what feels like a wave of pressure. Not only does he need to play someone who is supposed to evoke authority as a police officer and a parent, but also someone who is succumbing to paranoia. The true haunting feeling that looms throughout the film though is from Sean Harris’ performance as Henry Teague, a misfit suspect. Harris does not carry an intimidating or traditionally scary presence. His strength is keeping the audience on its toes with his unhinged aura. Although he rarely presented himself as a true physical threat to our rugged hero, his spontaneity and troubled look give us the impression that anything can happen while driving with him. Does he know more than he is letting on? What is this man capable of? Can he let loose at any moment? It is one of the greatest on-screen performances that I’ve seen and added so much to the movie’s character.
Almost just as important as the performances in this movie is its atmosphere. There is a darkness in this film not only punctuated by its dim lighting, but also its characters, dialogue, and soundtrack. Switching back and forth between police headquarters and being on the field was a great decision by the filmmakers for a couple of reasons. First, it allowed us to progress with the characters in the story at the present time, while giving us the context of why this suspect needs to be caught. We are put in the perspective of the authorities; only knowing what they know. Second, there’s something about the omission of gore and gruesome pictures that allowed our imaginations to run wild with how dark the crime was. Without showing us Harris’ character committing any heinous act, we go through the film unsure of what he is truly capable of. Being a part of Mark’s journey also adds to the tense atmosphere. The film will occasionally hard cut in the middle of his dialogue or torment us with dream-like sequences of his inner thoughts. You’re not sure what’s real, but our paranoia and anxiety is almost tangible.
What makes this film stand out from other crime thrillers as well are the dimensions of Henry Teague (Sean Harris). Throughout the film, we question his innocence and can chalk some of his actions as “he’s just a strange guy”. Getting to see him open up (or possibly manipulate) Mark, is almost heart-breaking. His form of expression to another human being is awkward and borderline creepy, but you can’t help but sympathize with him. Maybe his upbringing didn’t give him the ability to connect with others. And towards the end of the film, with the help of Sean Harris, we can put ourselves in Teague’s shoes. Not in terms of the crimes, but the anxiety he has to be feeling about being exposed. We’ve all been in that spot.
The Stranger was absolutely incredible and I found myself pausing the movie a few times during my watch to celebrate my falling in love with it.
